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Journal articles on the topic 'Brass instruments'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Jang Jaya, Rico Saktiawan. "Drafting a Business Plan for Brass Instrument Reparation named BrassON in Yogyakarta." Es Economics and Entrepreneurship 1, no. 02 (December 31, 2022): 09–23. http://dx.doi.org/10.58812/esee.v1i02.9.

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The purpose of this research is to draft a business plan for brass instrument reparation named BrassON. The brass instruments reparation business is a business that can fix any damage to any type of brass instrument. In Yogyakarta, there is no business that focuses on brass instrument reparation. Therefore, it requires a business plan for brass instruments reparation so that the business can run well. Before drafting the business plan for brass instrument reparation BrassON, a competition analysis of the industry is conducted to know the market situation for brass instrument reparation in Yogyakarta. The formulation of the mission, vision, marketing plan, operation plan, human resource plan, and financial plan of brass instruments reparation business adapted to market conditions brass instruments reparation. Based on data obtained from questionnaires, there are positive responses and interest from potential customers. BrassON presence in Yogyakarta as reparations services of brass instruments is expected to be a solution to the problem is not the presence of service brass instruments reparation in Yogyakarta. The initial investment spending used for the establishment BrassON is Rp 423.554.000. Net Present Value of Rp 145.998.845, Internal Rate of Return of 24 percent, and a payback period of 2.2 years. Based on financial analysis, the brass instrument reparations business BrassON is eligible to run.

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2

Bowsher, J. M. "Brass instruments." Physics Education 25, no. 1 (January 1, 1990): 30–34. http://dx.doi.org/10.1088/0031-9120/25/1/005.

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3

Frederick. "Tuning Brass Instruments." International Journal of Recent Advancement in Engineering & Research 3, no. 12 (December 26, 2017): 13. http://dx.doi.org/10.24128/ijraer.2017.no34gh.

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4

Stasney, C. Richard, Mary Es Beaver, and Margarita Rodriguez. "Hypopharyngeal Pressure in Brass Musicians." Medical Problems of Performing Artists 18, no. 4 (December 1, 2003): 153–55. http://dx.doi.org/10.21091/mppa.2003.4027.

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Brass instrument players are exposed to unique health risks due to increased pharyngeal pressures necessary for performance. One such risk is development of laryngoceles, or “blowout” of the larynx. This cross-sectional observational study was performed to determine the pressure required to play different frequencies in a variety of brass instruments. The hypothesis tested was that enharmonic frequencies require the same pharyngeal pressure regardless of the instrument. The brass instruments tested were high-pressure, low-flow instruments (trumpet or French horn) or low-pressure, high-flow instruments (tuba or trombone). We were not able to substantiate Jacobs’ theory that enharmonic frequencies resulted in equal pressures regardless of instrument, but we did elicit some high pressures in the hypopharynx when playing the trumpet or horn at higher frequencies.

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5

Jackson, Miranda. "A study of impedance of brass instruments and mouthpieces—Comparison of models and measurements." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A40. http://dx.doi.org/10.1121/10.0018078.

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The impedance of a brass instrument has an important influence on the frequencies of the notes that can be played and on the timbre of the sound. The shape of the mouthpiece has various features, such as the cup volume and shape, opening diameter, and length, that determine the characteristics of the overall impedance of the instrument-mouthpiece combination. Brass instruments, and especially mouthpieces, are designed for specific purposes, and many brass players own several different horns or mouthpieces, and choose which to use depending on their particular musical requirements at the time. In order to investigate the relationship between the physical parameters of instruments and mouthpieces and the resulting impedance, brass instruments and mouthpieces have been modeled with transfer matrix techniques, and the results are compared with impedance measurements of the instruments alone, the mouthpieces alone, and combination of instruments and mouthpieces. Trumpets, flugelhorns, horns, trombones, and the corresponding mouthpieces have been used for this study. The mouthpiece-instrument combination has been investigated in terms of intonation, playability, and timbre. The question of whether (and why) some mouthpieces are more suited to certain instruments and certain playing styles is investigated as well as the effect of varying the physical parameters of mouthpieces and instruments.

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6

Rusu, H. Zeynep, M. Burcin Mutlu, Volkan Kilic, Nilgun Poyraz, and Halil Eryilmaz. "Bacteria Found in Brasswind Instruments: Analyses Using Culture-Dependent Method and Culture-Independent 16 S rRNA Amplicon Sequencing Method." Medical Problems of Performing Artists 38, no. 4 (December 1, 2023): 189–99. http://dx.doi.org/10.21091/mppa.2023.4023.

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BACKGROUND: In wind instrument performance, there is a constant contact between the player and the instrument, during which microorganisms in the mouth flora of the player are transferred into the instrument. The inner surface of the brass instruments provides the perfect environment for microorganisms to grow. As a result, players repeatedly interact with these micro-organisms during playing. In previous studies, different kinds of microorganisms were detected in brass instruments, some of which can carry serious health hazards. PURPOSE: Revealing the common bacterial populations of brasswind instruments will be helpful in raising awareness among musicians and establishing their habits of cleaning/disinfecting their instruments. METHODS: In this study, samples from 4 different areas of 14 brass instruments were collected and analyzed using culture-dependent and -independent (16 S rRNA amplicon sequencing) approaches. The bacterial loads in different parts of the instruments were compared. RESULTS: The amount and variety of bacteria detected in the sampled instruments were unexpectedly large. While some of the found bacteria are harmless, others, such as Chryseobacterium and Elizabethkingia, may occasionally cause serious infections, especially in people with suppressed immune systems. Likewise, the Mycobacterium group includes a type that causes tuberculosis, and the Streptococcus group also shows pathogenic characteristics. The mouthpiece and leadpipe of the instruments had a much larger microbial load compared to the tuning and valve slides. CONCLUSION: According to the findings, brass instruments may harbor a wide variety of bacteria, some of which are potentially hazardous for the musicians’ health, especially if their immune systems are compromised. These risks can be minimized by regularly cleaning and disinfecting the instrument, especially the mouthpiece and leadpipe, which are the areas harboring most of the microorganisms.

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7

Simpson, Alvin F. "Inservice Music Educators’ Perceived Comfort for Teaching and Performing on Secondary Band Instruments." Update: Applications of Research in Music Education 39, no. 3 (February 16, 2021): 11–19. http://dx.doi.org/10.1177/8755123321995953.

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I surveyed inservice instrumental music educators ( N = 96) to determine their comfort level for teaching and performing on secondary band instruments. Research questions included the following: (a) How comfortable do inservice music educators feel teaching and performing on secondary instruments? (b) Does grade level affect educators’ comfort levels? (c) Does the educators’ primary instrument family relate to their perceived comfort level for teaching and playing on secondary instruments? and (d) Does the format of instrument classes during preparation programs influence educators’ comfort for teaching and playing secondary instruments? Participants reported moderate comfort on most instruments, with brass being most comfortable. Participants indicating woodwind as a primary instrument reported an overall higher comfort level for teaching and performing on brass instruments, whereas low comfort levels on double reeds. High school educators felt least comfortable teaching and performing on secondary instruments. Participants who took Split-Families and Semester-Families preservice classes felt more comfortable performing on secondary instruments versus those who took Individual-Instrument courses.

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8

Stepanova, Anna. "Modern brass band: its components and activities." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2022, no. 1 (138) (March 17, 2022): 37–42. http://dx.doi.org/10.24195/2617-6688-2022-1-5.

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The article covers the modern composition of a brass band, the main musical instruments that make up performing groups; the features of sound, range, tessitura of traditional musical instruments. Attention is also paid to the peculiarities of brass band leadership and professional skills of the conductor. One of the main differences of a brass band is the possibility of its use outdoors. Its powerful and loud sound does not need to be amplified by various technical devices – microphones, etc. Therefore, this type of performance of wind music is used mainly to accompany the solemn processions of various kinds, as well as to perform dance music. The highest type of brass band is the "large mixed brass band", which has the ability to perform works of considerable complexity. The composition of the "large mixed brass band" has been characterised, first of all, by the introduction of three or four trombones, three parts of trumpets, four parts of horns. In addition, the "large mixed brass band" has a much more complete group of wooden wind instruments, consisting of three flutes (piccolo flute and two large flutes), two oboes, the English horn, a large group of clarinets with their varieties, two bassoons, contraphagot and saxophones. To provide low-register sounds, helicons are introduced into the "large mixed brass band" – a low-sounding brass instrument arranged in a circle. In the modern composition of the orchestra helicons are replaced by tubes. The effective functioning of the brass band and its management is a historically established process of a special kind of musical and creative activity, which includes constructive and technical inventions of musical instruments, skills and abilities of performance, effective management of the orchestra through professional, communicative and personal qualities of the orchestra leader (conductor).

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9

Jackson, Miranda, and Gary Scavone. "A comparison of modeled and measured impedance of brass instruments and mouthpieces." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A109. http://dx.doi.org/10.1121/10.0026977.

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The impedance of a brass instrument has an important influence on its playability and sound timbre. The geometry of the mouthpiece has various features, such as the cup volume and shape, opening diameter, and length, that determine the characteristics of the overall impedance of the instrument-mouthpiece combination. Brass instruments, and especially mouthpieces, are designed for specific purposes, and horns or mouthpieces are chosen depending on the musical requirements. In order to investigate the relationship between the physical parameters and the impedances of instruments and mouthpieces, they have been modeled with transfer matrix and finite element model techniques, and the results are compared with impedance measurements of instruments, mouthpieces, and combinations of instruments and mouthpieces. Trumpets, flugelhorns, (French) horns, trombones, and the corresponding mouthpieces have been used. A detailed analysis of the estimation of the viscothermal losses has been performed, as the loss estimation in the narrow throat of the mouthpiece and in the flaring part of the brass instrument bell departs from the ordinary transfer matrix calculations. The effect of varying the physical parameters of mouthpieces and instruments is investigated by means of impedance considerations and sound synthesis, and the resulting influences on intonation, playability, and timbre are presented.

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10

Campbell, Donald M. "Lip control of brass instruments." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3124. http://dx.doi.org/10.1121/1.2933052.

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11

Wean, Ellis. "Training mouthpiece for brass instruments." Journal of the Acoustical Society of America 82, no. 4 (October 1987): 1475. http://dx.doi.org/10.1121/1.395175.

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12

Chick, John, Shona Logie, Lisa Norman, and Murray Campbell. "Transient phenomena in brass instruments." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3500. http://dx.doi.org/10.1121/1.4806220.

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13

LoPresto, Michael C. "Experimenting with brass musical instruments." Physics Education 38, no. 4 (June 30, 2003): 300–308. http://dx.doi.org/10.1088/0031-9120/38/4/302.

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14

Luzader, Stephen. "Homemade “woodwind” and “brass” instruments." Journal of the Acoustical Society of America 127, no. 3 (March 2010): 1762. http://dx.doi.org/10.1121/1.3383749.

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15

S, Sivasankar, and Alaguselvam A. "Beautiful Neduvangiyam also known as Nagasuram." International Research Journal of Tamil 3, no. 2 (March 30, 2021): 65–69. http://dx.doi.org/10.34256/irjt2129.

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The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music. Music instrument, like any other scientific invention goes through the same process of trial and error before getting standardized for general use. Instruments with strong adherence to scientific and acoustic principles gain prominence among the rest, as they undergo minimal structural changes. Nagasuram (Nadaswaram) is one such instrument, which was passed on to us for generations. This instrument readily complies with acoustic principles such as sound impedance, Helmholtz resonance, wave theory etc. to get the characteristic of a loudest non-brass wind instrument.

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16

Copeland, Lyndsey. "The anxiety of blowing: experiences of breath and brass instruments in Benin." Africa 89, no. 2 (May 2019): 353–77. http://dx.doi.org/10.1017/s0001972019000123.

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AbstractWithin amateur musical circles in Benin, one is told that if a male blows too hard into a brass instrument his testicles might swell up, fall off, or even run away. Concerned parents warn their children against ‘blowing’ brass instruments, telling stories of inguinal hernias and infertility, and many maintain that male brass players must take preventative measures. Accompanying this unease about blowing out is a complementary concern with breathing in, and the possible inhalation of micro-organisms or poison through the mouth. Engaging with this anxiety of blowing, this article takes seriously my interlocutors’ concern with the consequences of playing brass instruments on their bodies. My main argument is that understandings of the precarious nature of breath are at the core of musicians’ experiences of anxiety. My exploration of the relation between breath, anxiety and the body supports a common phenomenology of breathing across cultures, and serves to advance breath as an important site of meaning making.

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17

Eliason, Robert E., Trevor Herbert, and John Wallace. "The Cambridge Companion to Brass Instruments." Galpin Society Journal 52 (April 1999): 337. http://dx.doi.org/10.2307/842536.

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18

Kuno, Hiroaki. "Rotary valves for brass wind instruments." Journal of the Acoustical Society of America 90, no. 1 (July 1991): 627. http://dx.doi.org/10.1121/1.402311.

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19

Lessen, Martin. "Compensating valve system for brass instruments." Journal of the Acoustical Society of America 91, no. 3 (March 1992): 1791. http://dx.doi.org/10.1121/1.403755.

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20

Moore, Thomas R., and Isaac E. W. Codrey. "Wolf notes in brass wind instruments." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3333. http://dx.doi.org/10.1121/1.4781283.

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21

Pyle, Robert W. "A design strategy for brass instruments." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3121. http://dx.doi.org/10.1121/1.2933040.

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22

Pyle, Robert W., Sabine Klaus, and Arnold Myers. "Timbre of marching-band brass instruments." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2510. http://dx.doi.org/10.1121/1.5014169.

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23

Keefe, Douglas H. "On sound production in brass instruments." Journal of the Acoustical Society of America 87, S1 (May 1990): S138. http://dx.doi.org/10.1121/1.2027969.

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24

Moore, Thomas, Wilfried Kausel, Vasileios Chatziioannou, Nikki Etchenique, and Britta Gorman. "Axial vibrations of brass wind instruments." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3550. http://dx.doi.org/10.1121/1.4806443.

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25

Wheeler, Paul A. "Traditional brass instruments of the world." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2282. http://dx.doi.org/10.1121/1.3507991.

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26

Mattéoli, Rémi, Joël Gilbert, Christophe Vergez, Jean-Pierre Dalmont, Sylvain Maugeais, Soizic Terrien, and Frédéric Ablitzer. "Minimal blowing pressure allowing periodic oscillations in a model of bass brass instruments." Acta Acustica 5 (2021): 57. http://dx.doi.org/10.1051/aacus/2021049.

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In this study, an acoustic resonator – a bass brass instrument – with multiple resonances coupled to an exciter – the player’s lips – with one resonance is modelled by a multidimensional dynamical system, and studied using a continuation and bifurcation software. Bifurcation diagrams are explored with respect to the blowing pressure, in particular with focus on the minimal blowing pressure allowing stable periodic oscillations and the associated frequency. The behaviour of the instrument is first studied close to a (non oscillating) equilibrium using linear stability analysis. This allows to determine the conditions at which an equilibrium destabilises and as such where oscillating regimes can emerge (corresponding to a sound production). This approach is useful to characterise the ease of playing of a brass instrument, which is assumed here to be related – as a first approximation – to the linear threshold pressure. In particular, the lower the threshold pressure, the lower the physical effort the player has to make to play a note [The Science of Brass Instruments. Springer-Verlag, 2021]. Cases are highlighted where periodic solutions in the bifurcation diagrams are reached for blowing pressures below the value given by the linear stability analysis. Thus, bifurcation diagrams allow a more in-depth analysis. Particular attention is devoted to the first playing regime of bass brass instruments (the pedal note and the ghost note of a tuba in particular), whose behaviour qualitatively differs from a trombone to a euphonium for instance.

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27

Myers, Arnold, and Jeremy Montagu. "Bate Guides. Flutes. Reed Instruments. Brass Instruments. String Instruments and Keyboards. Percussion." Galpin Society Journal 40 (December 1987): 78. http://dx.doi.org/10.2307/841176.

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28

Handel, Stephen, and Molly L. Erickson. "Sound Source Identification: The Possible Role of Timbre Transformations." Music Perception 21, no. 4 (June 1, 2004): 587–610. http://dx.doi.org/10.1525/mp.2004.21.4.587.

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Timbre is typically investigated as a perceptual attribute that differentiates instruments at one pitch. Yet the perceptual usefulness of timbre is that it allows listeners to recognize one instrument at different pitches. Using stimuli produced across the playing range by three wind instruments from two categories, woodwind and brass, we measured listeners' judgments of instrumental timbre across pitch in a dissimilarity task and measured listeners' ability to identify stimuli as being produced by the same or different instrument in a three-note oddball task. The resulting multidimensional scaling representation showed that Dimension 1 correlated with pitch, whereas Dimension 2 correlated with spectral centroid and separated the instrumental stimuli into the categories woodwind and brass. For three-note sequences, the task was extremely difficult for the woodwind pair, with listeners typically choosing the most dissimilarly pitched stimulus as coming from the oddball source. In contrast, the three-note sequences were easy for the woodwind-brass pairs. The results from these experiments illustrate the difficulty of extrapolating the timbre of a sound source across large differences in pitch.

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29

Evans, Andrew. "Playing On: John York and the Sydney Brass Musical Instrument Factory." Sydney Journal 4, no. 1 (October 21, 2013): 66–85. http://dx.doi.org/10.5130/sj.v4i1.2797.

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The history of John York and the Sydney Brass Musical Instrument Factory contains familiar elements of a quintessential nineteenth-century Australian narrative. It features a skilled English immigrant who brought his family to a developing capital city and became a manufacturer and small business owner. It is an unusual story in that York practised the specialised skill of brass instrument making and repairing and was one of a handful of brass instrument makers known to have operated in Sydney at the time. At the end of the nineteenth century the significant purchasing power of an expanding Australian middle class, and a strong demand for the many musical instruments required for home entertainment, generated vigorous competition amongst Sydney’s music retailers. Cheaper British mass produced instruments were aggressively marketed by Palings and Nicholsons whose ‘emporiums’ were located at the more fashionable northern end of George Street. In order to succeed in this market, John York’s reputation as an instrument maker and repairer was paramount. This was largely founded on the promise of consistent, high quality workmanship and superior, personalised service. Even after his death in 1910, this enduring reputation sustained loyalty from York’s customers well into the middle of the twentieth century when the business continued under the management of his wife and sons.

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30

Turner, Anthony. "Recycling Early Modern Mathematical Instruments." Nuncius 37, no. 1 (October 13, 2021): 42–58. http://dx.doi.org/10.1163/18253911-20210805.

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Abstract Examples are given of how old instruments were recycled in the Early-Modern period in consequence of the difficulty and cost of obtaining brass suitable for instrument-making. Details of this practice are illustrated from two astrolabes by Jean Fusoris, one of which, described here, is a new addition to the corpus of his work.

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31

Holmes, Brian W. "Demonstrating the physics of brass musical instruments." Journal of the Acoustical Society of America 102, no. 5 (November 1997): 3198. http://dx.doi.org/10.1121/1.420911.

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32

Pyle, Robert W. "Sound quality of brass‐wind musical instruments." Journal of the Acoustical Society of America 114, no. 4 (October 2003): 2410. http://dx.doi.org/10.1121/1.4778466.

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33

Pyle, Robert W. "Acoustic input impedance measurements on brass instruments." Journal of the Acoustical Society of America 112, no. 5 (November 2002): 2292. http://dx.doi.org/10.1121/1.4779218.

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34

Pyle, Robert. "The choice of materials for “brass” instruments." Journal of the Acoustical Society of America 129, no. 4 (April 2011): 2519. http://dx.doi.org/10.1121/1.3588332.

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35

Ayers, R. Dean. "An alternate fairy tale for brass instruments." Journal of the Acoustical Society of America 83, S1 (May 1988): S120. http://dx.doi.org/10.1121/1.2025190.

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36

Young, Frederick J. "Optimal valve slide length for brass instruments." Journal of the Acoustical Society of America 148, no. 4 (October 2020): 2565. http://dx.doi.org/10.1121/1.5147118.

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37

King, Austin I., Jon Ashby, and Charles Nelson. "Laryngeal function in wind instruments: The brass." Journal of Voice 3, no. 1 (March 1989): 65–67. http://dx.doi.org/10.1016/s0892-1997(89)80123-7.

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38

Kotašová, Daniela. "Domestic Music Making and its Instruments: Zpráva z mezinárodní konference hudebních nástrojů v Edinburghu." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 64–68. http://dx.doi.org/10.37520/mmvp.2022.007.

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June 2022 saw the biennial conference on musical instruments organized by The Galpin Society in association with The University of Edinburgh. The papers presented a wide range of organological topics related to the fields of stringed instruments and especially wind instrument (woodwind and brass). During the conference, various options for the research methodology were presented: from the description of the construction and technical features of the instrument, decoration and design, through archival research, socio-economic aspects of production and trade, to the acoustic properties of the instruments. There was also the topic of the use of social media.

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39

v. Steiger, Adrian, Daniel Allenbach, Martin Ledergerber, Bernhard Elsener, David Mannes, Tiziana Lombardo, Federica Cocco, et al. "New Insights into the Conservation of Brass Instruments: Brass Instruments between Preventive Conservation and Use in Historically Informed Performance." Historic Brass Society Journal 30, no. 1 (December 1, 2018): 85–102. http://dx.doi.org/10.2153/0120180011005.

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40

Rodríguez, Juan C., Romina del Rey, Miguel A. Peydro, Jesús Alba, and Juan L. Gámez. "Design, Manufacturing and Acoustic Assessment of Polymer Mouthpieces for Trombones." Polymers 15, no. 7 (March 27, 2023): 1667. http://dx.doi.org/10.3390/polym15071667.

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Brass instruments mouthpieces have been historically built using metal materials, usually brass. With the auge of additive manufacturing technologies new possibilities have arisen, both for testing alternative designs and for using new materials. This work assesses the use of polymers for manufacturing trombone mouthpieces, specifically PLA and Nylon. The acoustical behavior of these two mouthpieces has been compared with the obtained from a third one, built from brass. Both additive and subtractive manufacturing techniques were used, and the whole manufacturing process is described. The mouthpieces were acoustically assessed in an anechoic chamber with the collaboration of a professional performer. The harmonic analysis confirmed that all the manufactured mouthpieces respect the harmonic behavior of the instrument. An energy analysis of the harmonics revealed slight differences between the mouthpieces, which implies differences in the timbre of the instrument. Although these subtle differences would not be acceptable when performing with the instrument in an orchestra, they could be perfectly valid for early learners, personal rehearsals or any kind of alternative performance.

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41

Balasubramanian, Saranya, Vasileios Chatziioannou, and Wilfried Kausel. "Analysis of Axisymmetric Structural Vibrations in Brass Instruments." Acta Acustica united with Acustica 105, no. 3 (May 10, 2019): 506–15. http://dx.doi.org/10.3813/aaa.919332.

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42

Ayers, R. Dean. "Harmonic alignment of impedance peaks in brass instruments." Journal of the Acoustical Society of America 102, no. 5 (November 1997): 3085. http://dx.doi.org/10.1121/1.420213.

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43

Moore, Thomas R., and Wilfried Kausel. "The importance of structural vibrations in brass instruments." Journal of the Acoustical Society of America 136, no. 4 (October 2014): 2284. http://dx.doi.org/10.1121/1.4900257.

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44

Ayers, R. Dean. "Impulse responses and effective lengths for brass instruments." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3055. http://dx.doi.org/10.1121/1.419276.

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45

Ludwigsen, Daniel O. "Input impedance of brass instruments from velocity measurement." Journal of the Acoustical Society of America 118, no. 3 (September 2005): 1948. http://dx.doi.org/10.1121/1.4781223.

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46

Thulin, Spencer, Binod Bhatt, Jack Quire, and Kurt R. Hoffman. "Modeling aerosol flow for singing and brass instruments." Journal of the Acoustical Society of America 148, no. 4 (October 2020): 2750. http://dx.doi.org/10.1121/1.5147647.

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47

Gilbert, Joël, Sylvie Ponthus, and Jean-François Petiot. "Artificial buzzing lips and brass instruments: Experimental results." Journal of the Acoustical Society of America 104, no. 3 (September 1998): 1627–32. http://dx.doi.org/10.1121/1.424375.

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48

Young, Frederick. "Optimization of valve tube lengths for brass instruments." Journal of the Acoustical Society of America 125, no. 4 (April 2009): 2598. http://dx.doi.org/10.1121/1.4783888.

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49

Kemp, Jonathan A., and Richard A. Smith. "Modeling pulse-like lip vibrations in brass instruments." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3500. http://dx.doi.org/10.1121/1.4806219.

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Zemp, Armin, Gwenael Hannema, Bart Van Damme, Adrian v. Steiger, Martin Skamletz, and Rainer Egger. "Determination of Vibro-Acoustic Properties of Brass Instruments." Historic Brass Society Journal 31, no. 1 (December 1, 2019): 77–91. http://dx.doi.org/10.2153/0120190011004.

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